Page:Scottishartrevie01unse.djvu/130

104 Op. 13. Three Psalms ; a bold and successful attempt to adapt three of Bach's grandest composi- tions for the piano to a chorus of male and female voices with scriptural words. Besides these there are a number of other works of less general interest, being compositions for special occasions and so forth.

We have already alluded to Cornelius' charming opera the Barber qf Bagdad, which has become a favourite of oiu- operatic stage. It is difficult to understand how this pearl of a comic opera has not long ago conquered every lyric stage in Europe, instead of being almost wholly confined to IMunich. It is true that it is impossible to find a second inter- preter of the title part like our Dr. Gura. The Barber is the most complete and perfect of Cornelius'' works, for the reason that in it the two characteristics of his individuality have found artistic expression, poetic depth, and genuine sparkling humour. It is moreover, and we have no hesitation in saying it, unequalled in original invention and treatment of details. This music is so new, sounds so modern, that we can hardly believe it to have been written tliirty years ago. Only the overture is inadequate, nay even positively weak. The musical poet was unable to build up musical motives, when the foundations upon Avhich he was wont to build, that is to say the words, were wanting. Of the life of Cornelius, for the details of which we are indebted to liis widow, whose home is Munich, we sliall speak on a future occasion.

E. Cl.AUSS. Munich, Auifust iS88.

E have seen the split in the early Christian Church on this subject, the danger from which music was saved in the thirteenth century, and the new develoyment in the service which was made the handmaid of the Reformed Religion, to which there was an almost exactly parallel case when the Wesleyans seceded from the Episcopal Church. The last ecclesiastical upheaal which we need consider is the Calvinistic movement, Avith its great influence on Scotland's religious thought and custom.

On every side there was burning hatred of corrupt Papal and alien Episcopal Churches, and fierce impatience of anything savouring of ' Ritual.' We are only now regaining the balance which was so disturbed when religion, politics, patriotism, personal influence, and persecution swung the pendulum so far.

The consideration of the present attitude of the Presbyterian Church towards musical esthetics will naturally include the various questions raised by- hymns, chants, anthems, and voluntaries, which con- stitute the musical part of our services. I do not seek to conceal my sympathies, but I hope I shall not understate the difficulties or dangers in trying to show the advantages to be gained by recognising ajstheticism as a necessary and most valuable part of church worship.

There is happily now no necessity for threshing the chafF in the question of using ' human hymns,' but the battle for chants and anthems is not yet quite gained, although we have won over authority to our side. And though only a minority object to the principle of instrumental accompaniment, there is still a vast amount of prejudice against accepting the artistic work 6i player and choir as an integral part of the Church's worship, and not regarding the choir as a mere machine set in motion by the organist for giving the members a tune, and securing for them an approximately uniform key speed for singing it. Many, indeed, look upon the choir and organist as a combination with dangerous designs for elevating the aesthetic at the expense of the spiritual in worship, which must be incessantly confronted with watchful suspicion, and whose most apparently innocent proposals must be vetoed in order to guard against all possible encroachments. Possessing authorised Hymnals in our various denominations, with tunes affixed to each hymn, it is impossible to propose any reform in words or music. We" can only wonder at the purists who reverted to the original ' Hark, how all the ivellan rings,' 1 when all the worlil sings ' Hark, the herald angels sing ' ; at those hymnologists who feared the results on an uneducated people of a literal translation of the old Latin ' Dulce Jesu ' ; - at the anti-Mariolaters who dreaded the tendency expressed in

' Jesu, Son of Mai-y, hear ! ' ^ ; and at the anti-angelics who could sacrifice

' Till morning's joy shall end the night of weeping,

And life's long shadows break in cloudless love,' ' U.P. Hymnal. - ' O Sa-ioiir, bless us e'er we go ' instead of ' Sweet Saviour.' ^ ' Gracious Son of Mary, hear ! '